Description:Created c. 1509-11, this work is fine lifetime impression monogrammed with the artist’s initials ‘AD’ in the lower center of the image. This work is a dark black impression printed on a fine laid paper. This work is also documented in Bartsch 43, Meder 152 II (von IV), Panofsky 263, and Hollstein 152, the original wood block in the collection of the British Museum, London.
Full of intense emotion and highly detailed figures, this work expresses the anguish and somber nature of this scene. Exhibiting the artist’s mastery and skill in technique of the studied figure, this work is an intimate look at the subject matter. Walter L. Strauss discussed this work in his book, The Woodcuts and Woodblocks of Albrecht Dürer:
As in the engraving, which bears the date of 1507, the scene occurs beneath the Cross…Dürer has seemingly used elements from several drawings in his reference file, some dating back a number of years: the Magdalene, bent forward, with her ointment jar, kissing the Saviour’s feet…the drawn up legs of Christ from ‘The Dead Christ’, dated 1505; the holy woman in the background has her arms raised in despair like the man in the background of the engraving ‘The Sea Monster’. Wölfflin considers this version ‘the most expressive and succinct one; not only the head, but also the arms and legs speak.’ Dürer has, in this instance, employed foreshortening in the woodcut that, as a rule, is the hallmark of ‘The Engraved Passion.’ (384)
Catalogue Raisonné & COA:
It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).
1. Barlow, T.D. (1948). Woodcuts of Albrecht Dürer. Listed and illustrated as plate 71.
2. Kupfertiche, Eisenradierungen und Kaltnadelblatter, Albrecht Dürer Das Druckgraphische Werk, Vol. I, Prestel Verlag: Munich, 2001. Discussed on pgs. 125-9 and illustrated on pg. 126.
3. Kupfertiche, Eisenradierungen und Kaltnadelblatter, Albrecht Dürer Das Druckgraphische Werk, Vol. II, Prestel Verlag: Munich, 2001. Listed and illustrated as catalogue raisonné no. 213 on pgs. 329-330.
4. Kurth, W. (1963). The Complete Woodcuts of Albrecht Dürer. Dover Publications, Inc.: New York. Listed and illustrated as catalogue raisonné no. 249 and discussed on pg. 30.
5. Scheller, R. W. & Boon, K. G. (1971). The Graphic Art of Albrecht Dürer, Hans Dürer and The Dürer School. Vangendt & Co.: Amsterdam. Listed and illustrated as catalogue raisonné no. 152 on page 128.
6. Strauss, W. L. (1980). Albrecht Dürer Woodcuts and Woodblocks. Abaris Books: New York. Listed and illustrated as catalogue raisonné no. 127 on pgs. 384-5.
About the Framing:
Conservation framed with museum quality, archival materials, this work is float-mounted on linen in an ornate black and gold leaf frame. The finely carved vegetal details of the Spanish-style moulding compliment linear elements in this work. The bright gold reflection of light in the frame and the deep shadows created by the sculptural relief, accentuate the contrast in this work. Completed with white, linen-wrapped mats and a matching gold inner fillet, this work is set behind an archival Plexiglas® cover.
